- Obsession
Blumhouse’s Obsession isn’t just one of the best horror films of 2026, it’s one of the year’s best films outright. Director Curry Barker turns a deceptively simple premise into a spiraling nightmare drenched in dread, heartbreak, and absolute psychological chaos. But the real revelation is Inde Navarrette, who delivers a fearless, career-defining performance that deserves serious awards attention. She’s terrifying, tragic, magnetic, and impossible to look away from. By the final act, the film feels less like a movie and more like a panic attack trapped inside a cursed love story. Blumhouse struck horror gold with this one.Obsession - Star Wars: The Mandalorian and Grogu
If The Mandalorian and Moana have one thing in common it’s that they both have feature films that were originally set to air on Disney plus as streaming shows. However, both Moana 2 and The Mandalorian and Grogu shows were Frankenstein-ed into live action films and with Mando it shows…badly. Dave Filoni, who has crafted some good to great Star Wars animated content still has not quite found his footing with live-action content. The show…I mean film plays like a cross between a Saturday morning cartoon and a video game. The plot is paper thin, the characters are inconsistent, and too many action scenes without a decent story leaves Mando feeling a little hollow. However, young boys will love it. 5 to 8 year old boys appear to be the audience the film is aiming for and maybe in hindsight that isn’t a bad thing after a decade of Lucasfilm trying and failing to make Star Wars a girl brand. That lack of development on the Rey Skywalker film and the rush to get this half baked Mando film to the screen is proof in the pudding. Star Wars is in the middle of a massive course correction and there will be considerable growing pains along the way. The Mando film being one of them. The film starts out actually good with Mando fighting an Imperial Warlord. The action and pacing is fun and exciting. Everything after that is a mess. The Hutts become the main villains for some odd reason despite the entire first part of the film focusing on the remnants of the Empire. It’s a poor direction for the film. Maybe if they had started with the Hutts and then have it tie into the Empire the film would have had a bit more weight. Now to address the green puppet in the room. Grogu or Baby Yoda as most people call him, has gone from cute but kind of annoying to just annoying. Hell, even Baby Groot grew up at one point in the Guardians of the Galaxy films. Grogu is still the same non talking puppet we first met in the first season of the Mandalorian tv show. The cuteness has worn off. He has not matured. He sometimes is written like he is a bumbling idiot other times he’s written as a powerful Jedi. The writing of the character is extremely inconsistent and intelligence is determined by a writers room that don’t seem to be on the same page. In closing the film isn’t the worst thing you will see this year. It’s sure as hell not going to be the best. It’s just meh. Forgettable. And that is unacceptable for a Star Wars film. Especially after 7 years since the disaster that was “Rise of Skywalker.” Star Wars films used to be events that everyone knew was coming. With this film, nothing. Just another disposable Summer blockbuster film to be ignored and forgotten when the next mid to forgettable Summer blockbuster comes out. For Star Wars, this is NOT the way.Star Wars: The Mandalorian and Grogu - The Boys • Season 5
Amazon’s “The Boys” never really pretended to be a battle between good and evil despite being a show about superheroes if they were in the real world. From the start, it was more like bad vs. worse. But by the final season, nearly every character has spiraled so far into their ugliest instincts that when major deaths start piling up, the emotional impact barely registers. The show that once thrived on razor-sharp satire and chaotic fun sometimes feels exhausted by its own cynicism, like it spent so long trying to top itself that it forgot why people cared in the first place. Also the showrunners political persuasions have slowly infected aspects of the series since season 3 and has sadly had a hindering effect on its overall quality. Still, even when the writing buckles under the weight of its own nihilism, Antony Starr remains untouchable. His performance as Homelander is still one of the greatest live-action comic book villain portrayals ever put to screen: terrifying, pathetic, hilarious, and explosive all at once. And right beside him, Jensen Ackles steals every scene he walks into with the swagger of a drunken action figure brought to life, firing off one-liners like he knows the show needs the adrenaline shot. The brief “Supernatural” reunion with Jared Padalecki is a fun little detour for longtime fans, even if it feels more like a wink than a meaningful addition. Thankfully, the finale itself delivers where it matters most. The long-awaited showdown between Butcher and Homelander absolutely kicks ass, giving fans the brutal, ugly, emotionally charged brawl the series had been building toward for five seasons. What works best is that the showrunner resists the temptation to end things on pure spectacle alone. While the ending doesn’t follow the comics beat for beat, it finds its own darker, more bittersweet path that still feels respectful to longtime fans. No, it’s not the best season of The Boys. Not even close. But despite its flaws, it manages to limp across the finish line with enough blood, heartbreak, and dark humor intact to earn a mostly satisfying sendoff.The Boys • Season 5 - Mortal Kombat II
Simon McQuoid returns to the director’s chair for 2026’s Mortal Kombat, and this time the franchise finally delivers the one thing fans were begging for in the first movie: an actual tournament. It’s a simple fix, but one that instantly gives the sequel more energy, structure, and purpose than its predecessor ever had. Add in the long overdue arrival of fan favorite characters who were bizarrely absent the first time around, and this sequel already feels far more in tune with the chaotic spirit of the games. The biggest improvement comes through addition by subtraction. Lewis Tan’s original character Cole Young, whose “chosen one” status dragged the first film down like an ankle weight is barely featured here. Thankfully, the movie instead shifts focus toward characters audiences actually wanted to spend time with. Enter Karl Urban as Johnny Cage, swaggering into the film with sunglasses, ego, and enough wisecracks to revive the pulse of the franchise. Urban injects some badly needed personality and humor into a series that previously treated charisma like a forbidden fatality. Yet somehow, it’s still Josh Lawson who walks away as the MVP. Kano technically should’ve stayed dead after the first film, but Lawson is so absurdly magnetic in the role that you can practically feel the writers refusing to let go of him. He’s rude, selfish, hilarious, and oddly lovable, turning Kano into the franchise’s resident anti-hero. Fans of Kitana finally get their payoff as Adeline Rudolph makes her debut, bringing much needed sex appeal and danger to the screen in equal measure. It’s also a fun reunion with her former Chilling Adventures of Sabrina co-star Tati Gabrielle, who slips naturally into the role of Jade. The film thankfully gives Kitana more than just a costume and a fan pose for the trailer. She gets several standout moments and absolutely earns her place in the carnage. And yes, the fights are great and a step up from the last film. The combat sequences are brutal, bloody, and sharply choreographed, with fatalities that feel lovingly pulled straight from a teenager’s button-mashing memories. The final kill alone is easily in the running for the year’s most gloriously over-the-top cinematic death, the kind of crowd-pleasing moment that makes audiences collectively lose their minds in a packed theater. The film still isn’t flawless. McQuoid continues to lean heavily on muted, gray-brown visuals that sometimes flatten the insane fantasy world these games are known for. Still, this sequel is a massive improvement over the first film in almost every way. It’s funnier, bloodier, more self-aware, and most importantly, actually entertaining. No, it’s not the best blockbuster you’ll see this year, but unlike the 2021 film, this one might actually leave you grinning on the walk back to your car. And for fans of the video game franchise, that alone feels like a flawless victory.Mortal Kombat II - Coyotes
“Coyotes” is the kind of horror comedy that knows exactly how ridiculous its premise is and wisely leans into it with a grin full of sharp teeth. Justin Long continues his unofficial career of “guy having the worst weekend imaginable.” The dialogue occasionally snaps with real wit, but a lot of the gags fall flat. A lot of the characters spend so much time making catastrophically dumb choices that eventually you stop rooting for them and start rooting for the wildlife. Still, “Coyotes” has enough bloody charm and self-aware lunacy to make for a decent midnight watch, even if it sometimes feels like the script got lost in the woods halfway through.Coyotes - The Punisher: One Last Kill
Marvel’s Punisher: One Last Kill delivers exactly what you’d expect from Jon Bernthal: brutal violence, simmering rage, and a performance so intense it feels like Frank Castle is chewing broken glass between scenes. Bernthal remains the gold standard for the character, bringing a raw physicality and exhaustion that still works even when the material around him doesn’t. The problem? We’ve seen this story already. Again. And again. And again. For a special barely long enough to justify its own existence, an absurd amount of time is spent on Sad Frank™ brooding in the shadows, questioning retirement, and rediscovering his rage for the fifteenth time across The Punisher and Daredevil: Born Again. At some point, can we just skip the annual “one last ride” therapy session and let Punisher actually be Punisher? Worse, the special does almost nothing to move Frank’s story forward, nor does it meaningfully set up his rumored appearance in Spider-Man: Brand New Day. It exists in that increasingly familiar Marvel limbo: technically watchable, occasionally savage, but creatively weightless. Another swing and miss from Marvel Studios…The Punisher: One Last Kill - The Super Mario Galaxy Movie
Super Mario Galaxy is another visually dazzling win for Nintendo’s growing cinematic universe. The animation is absolutely stunning, blending hyper-realistic textures and lighting with the colorful, cartoon chaos of the Mario games in a way that somehow feels both epic and playful. Every galaxy bursts with imagination and gamer eye candy. One of the movie’s biggest additions is Star Fox himself, Fox McCloud, whose appearance instantly steals the spotlight and opens the door for exciting new possibilities in the Super Mario Cinematic Universe. If this cameo is any indication, a Star Fox spinoff can’t come soon enough. That said, the film isn’t without its flaws. The story is paper-thin, even by animated family film standards, and many of the character motivations feel underdeveloped. The movie also struggles from the lack of a truly memorable villain, leaving the stakes feeling lighter than they should. Still, despite its shortcomings, Super Mario Galaxy is an incredibly fun, charming, and beautiful adventure. It’s the kind of movie that’s easy to enjoy from start to finish. I just wish the filmmakers had spent a little more time strengthening the story and characters, because with visuals and world-building this strong, it had the potential to be a great film instead of simply a very good one.The Super Mario Galaxy Movie - Daredevil: Born Again • Season 2
Season 2 of Daredevil: Born Again was supposed to be the “fixed” version of the show. After Season 1 reportedly went through massive creative overhauls and near-total reshoots, this was meant to be the fully realized vision from the new creative team. Instead, what we got feels like a series constantly tripping over its own cape. The biggest problem is how aggressively the season leans into heavy-handed political allegories that drag the story into a swamp of sermonizing. The vigilante task force feels less like an organic threat within the world of Hell’s Kitchen and more like a blunt political metaphor that overwhelms the actual narrative. In the process, Wilson Fisk loses much of the terrifying aura that once made him one of Marvel’s greatest villains. Between this and previous appearances in Hawkeye and Echo, Kingpin has been chipped away into a far less intimidating presence. Even worse, the season sidelines the characters people actually tuned in to watch. Daredevil, Kingpin, and Bullseye often feel like supporting players in their own show while the spotlight shifts toward BB Urich, Daniel Blake, and Heather Glenn. None of them bring enough charisma or compelling drama to justify the amount of screen time they consume, making whole stretches of the season feel like narrative gridlock. There are still a few bright spots buried under the rubble. Charlie Cox remains excellent as Matt Murdock, doing everything he can to elevate weak material with sheer conviction. Vincent D’Onofrio still commands attention whenever Fisk is allowed to actually be Fisk. But the real MVP here is Wilson Bethel as Bullseye. Every scene involving him crackles with danger, and his action sequences are vicious, brutal, and some of the only moments where the show genuinely comes alive. Outside of that, Season 2 is mostly a disappointment. A cluttered supporting cast, muddled focus, and suffocating allegory weigh down what should have been Marvel’s triumphant return to Hell’s Kitchen. Instead, it feels like a courtroom drama where the writers forgot the jury came to see Daredevil throw hands.Daredevil: Born Again • Season 2 - Beef • Season 2
“Where’s The Beef.” Season one of Beef was lightning in a bottle. Sharp writing, layered characters, and escalating chaos turned a simple road rage incident into one of Netflix’s most addictive dramas. Season two, unfortunately, feels a little undercooked by comparison. The new cast does solid work and the setup has plenty of potential, but the story never fully taps into the same tension or emotional volatility that made the first season so compelling. The central “beef” is pushed aside surprisingly fast in favor of a subplot that slowly takes over the narrative, dragging the momentum down with it. That said, the season isn’t without its highlights. The finale delivers one genuinely standout moment with a brutal one-take fight scene set inside a surgery room that finally injects the kind of intensity the season had been missing. Overall, season two is still entertaining enough, but it lacks the bite, urgency, and unpredictability that made the original such a knockout. An okay follow-up, but definitely a step down from the first serving.Beef • Season 2 - The Yeti
Well Go Entertainment has always been a mine of hidden treasures to explore with each new release they have dropped. Whether it be action packed spectacles like “Lone Samurai” or odd ball comedies like “The Panda Plan” they always take chances with unique films. Sadly “The Yeti” falls apart faster than the cheap creature effects on display here. Visually the film looks cool but after 5 minutes in the good will goes out the window due to its slow pacing and really bad acting. Save yourself some time and pass on this let down of a film.The Yeti - Forbidden Fruits
Forbidden Fruits is a glossy,fashion fueled sugar rush that struts like a mall runway show and bites like a coven spell gone wrong. Think Heathers meets The Craft and you get Meredith Alloway latest effort here. The film’s killer quintet—Lili Reinhart, Lola Tung, Victoria Pedretti, Alexandra Shipp, and Emma Chamberlain—turn the food court into a throne room. Reinhart owns Apple, the razor-tongued queen bee, while Pedretti steals scenes as Cherry, a delightfully ditzy hottie with perfect comedic timing. Plot-wise, it’s wickedly simple: hot mall girls form an underground coven to bend people around them to their will… until an outsider slips in and creates a schism in the group. The real flavor comes from Alloway/Diablo Cody one-liners—sharp, bratty, and endlessly quotable—and a wardrobe that feels like a character of its own. The soundtrack snaps too, with needle drops from Kiki Rockwell, Haute & Freddy, and Bria Salmena that give the film a pulsing, alt-pop heartbeat. It’s a fun, fashion-forward horror comedy with bite. And when the third act swerves into something darker and nastier and gory, it doesn’t just shock—it practically winks at a sequel waiting in the wings.Forbidden Fruits - Monarch: Legacy of Monsters • Season 2
Season two of Monarch: Legacy of Monsters keeps digging deeper into the MonsterVerse sandbox, expanding the mythology with new Titans while anchoring everything around the looming shadows of Godzilla and Kong. The timeline still feels like it was shuffled in a mixed deck of cards, loosely orbiting the events of Godzilla: King of the Monsters, but the show seems more interested in filling lore gaps than telling a clean, forward-moving story. Much of the season leans into the rivalry between Monarch and Apex Cybernetics. Monarch is framed like a kaiju-hunting version of S.H.I.E.L.D., yet too often they stumble through crises like they forgot the manual. Apex, on the other hand, quietly builds toward its inevitable endgame, laying the groundwork for Mechagodzilla with a cold, calculating presence that feels far more dangerous. The series spends a surprising amount of time answering questions that never felt urgent to begin with, and once again, the human drama struggles to carry its weight. The Randa family remains frustratingly hard to root for, while revelations about Lee Shaw and Keiko Miura shift them from mysterious to deeply unlikable. Ironically, the emotional anchor becomes Tim, the awkward Monarch analyst who steps up in meaningful ways, only to be constantly sidelined by louder, more reckless personalities. Still, the real stars stomp in with seismic charisma. Skull Island returns with a “Jurassic Park film on steroids” kind of vibe, and Kong’s appearances carry real weight. Godzilla, meanwhile, is reduced to a blink-and-you-miss-it cameo, more name dropped than participant. The spotlight instead shifts to Titan X, an ugly amphibious creature that goes from rampaging invading threat to sympathetic test subject for Apex. By the time the show introduces Axis Mundi as a dimension-bending, time-warping phenomenon and gives Cate Randa a surprising Titan-communication ability reminiscent of the Godzilla Hersei Era, Miki Saegusa, it’s clear the series is swinging big, even if not every idea lands cleanly. In the end, season two is a mixed bag: thrilling creature moments wrapped in a human story that still can’t quite get out of its own way. The Titans roar, the ground shakes, and yet somehow, it’s the people who remain the most destructive.Monarch: Legacy of Monsters • Season 2 - Hulk Hogan: Real American
The Hulk Hogan Real American is a heartfelt look at one of wrestling’s most mythic figures, Hulk Hogan—a larger-than-life icon who helped transform professional wrestling into a global spectacle. The series traces his journey from humble beginnings to superstardom, capturing the many rises, falls, and reinventions that defined the Hulkster’s career. Red & Yellow to Black & White and then RED. It doesn’t shy away from the contradictions either. Like Vince McMahon, Hogan is portrayed as both generous and ruthlessly business-minded—someone who elevated the industry while not always embracing the rise of those around him. That tension gives the story its edge. What lingers most is the reminder of his cultural impact. Hogan didn’t just perform—he defined eras, inspired generations, and built something that still stands today. The documentary subtly pushes back against the tendency to reduce legacies to their lowest moments, suggesting that history ultimately weighs influence and achievement more heavily than controversy. At its core, this is a story about spectacle, ambition, and the complicated humanity behind the red-and-yellow legend. And no matter where you land on the man himself, it’s hard to deny the seismic mark he left on the world of wrestling.Hulk Hogan: Real American - Apex
APEX is a sweaty, sun-scorched game of cat and mouse that almost outruns its own logic. Charlize Theron plays a widower whose survival instincts are decent, but whose decision-making track record is… historically terrible. The film leans hard into the idea that her recklessness is basically what got her husband killed after she pushed him to climb a mountain he explicitly said was a bad idea. Turns out, ignoring red flags isn’t a great survival strategy. Taron Egerton, meanwhile, is having a blast as a cannibalistic psycho who treats the outback like his personal hunting ground. He’s brutal, unpredictable, and for some reason runs on a steady diet of EDM and beef jerky. The less you know about that jerky, the better… until the movie makes sure you don’t have that luxury. It’s tense, weirdly stylish, and occasionally dumb in ways that make you roll your eyes and keep watching anyway. Not amazing, not terrible. Peak “throw it on Netflix and commit for 90 minutes” energy.Apex
